THE STORY WEAVERS: Though many people put in time to make the Syuxtun Story Circle come to life, the project was led by (from left) Ray Ward, Stephen Franco Jr., Michael Cordero, Gloria Liggett, Sue Nakao, Carmen Sandoval, and Lori Ann David. The mosaic now sits in front of West Beach, near the old village site of Syuxtun, which means "where the two trails run," and which was the largest Chumash settlement at the time of European contact.

Within the Syuxtun Story Circle

Collaborative Chumash Mosaic Brings Community Together at West Beach

Thursday, November 5, 2009

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Right now, steps away from the sand at West Beach, the upper-, middle-, and under-worlds are swirling together in beautiful harmony on the Cabrillo Boulevard sidewalk. Wrapped in the gentle brown wings of a giant eagle and spread out around a centrally placed sand dollar, a lizard sneaks past Coyote to grant people hands rather than paws, a red-tufted woodpecker carries an acorn away from the Great Flood, and two ravens stand in a ravine full of golden poppies waiting for human souls to pass by. But age-old legends aren’t the only stories on display here-there’s also a once-thriving seaside village from the 1700s coming back to life, its thatch-roof huts serving as the backdrop for a team of paddlers returning from the ocean with a plank canoe full of fish, and, even more contemporary, a scene from the 1970s of modern-day paddlers, returning to the sea in their abalone-adorned tomol like the generations of ancestors before them.

Welcome to the Syuxtun Story Circle, the new, 20-foot-wide mosaic that sits upon the very location of the village of the same name, which was once the largest settlement in all of Chumash country, from the shores of San Simeon to the mountains of Malibu. Comprised of about 200,000 unglazed ceramic tiles and the product of more than 5,000 collective hours of intense work by more than 100 people from a variety of backgrounds, the Syuxtun Story Circle now stands as Santa Barbara’s most prominent ode to the area’s first inhabitants and shall serve as a steady reminder that the Chumash people never died, and that their culture persists and continues to grow in this corner of California. Even more promising is that the mosaic represents the first time in anyone’s collective memory that the six organized Chumash tribal groups came together to wholeheartedly support a unified vision and collaborate on telling their own stories, a reality that all involved hope will lead to much more cooperation and mutual understanding in the future.

By Paul Wellman

“What we are creating is a circle of inclusiveness and equality within our community,” said Ray Ward, a longtime tomol paddler who is one of the project’s visionaries. “And not only the Chumash community, but the community at large. This is all of ours.”

The unique collaboration was sparked in November 2008, when Ward, Stephen Franco Jr., Carmen Sandoval, Chuck Franco, and Lori Ann David all attended a meeting held by the City of Santa Barbara’s Arts Advisory and Visual Art in Public Places committees, which were seeking proposals for a display to decorate the to-be-renovated sidewalk along Cabrillo Boulevard as part of the ongoing West Beach Improvement Project. They’d come independently, but found themselves discussing a similar vision for the site. “It was obvious we wanted to create something great for the space,” said artist Lori Ann David, who’s been making outdoor mosaics, sculptures, and more in Santa Barbara since 1984, “and I wanted to help them have their story told in the most permanent, amazing way.”

The specifics of that story were then hashed out by cultural historian Franco Jr., who wove together a number of oral traditions about creation, cosmology, and ancient history with recorded events starting from the time of European contact and running until the present day. The original design was scribbled upon a now nearly mythical paper plate, later enhanced into a drafted illustration by Ward’s wife, artist Sue Nakao, and then shared with the various tribal communities. Throughout time, the story’s narrative became more complicated and encompassing, and was influenced by everything from the memories of elders and 30-year-old photographs to the recent dreams of today’s Chumash.

“Like every good story, it draws you in, gives you an emotional response, and takes you on a journey,” said Franco Jr. “It’s definitely been a journey, and, into the future, I think it’s going to continue being a journey for all of us.”

By Paul Wellman

Syuxtun Story Circle

Much of that journey took place in the foothills above Santa Barbara, beneath the baking sun and sporadic shade of majestic oak trees in the outdoor studio of Lori Ann David. Though her home up San Roque Canyon burned to the ground during May’s Jesusita Fire-which also destroyed the wooden platform that had been built to hold the mosaic-the team was able to recover the work space quickly. By the beginning of July, they’d built a new platform and were hard at work outlining the 20-foot-wide dial on 21 separate panels. Then came the detailed task of organizing, splitting, arranging, laying, and gluing in place the more than 200,000 tiles, which were later grouted together with epoxy. In early October, the 21 panels, which each weighed about 60 pounds, were trucked down to the mosaic’s new home on Cabrillo Boulevard, just across the street from the green grass rectangle of Ambassador Park, and then the crew spent another few days connecting the panels and applying the final weather-proof glaze.

Altogether, the hands-on mosaic-building process took from July until October and eventually involved a seemingly endless stream of individuals, including numerous Chumash artisans and non-artists, students from the Open Alternative School, and even one lucky journalist. “People would show up out of curiosity, not knowing what to expect, and then get inspired to be involved,” recalled Lori Ann David, who co-managed the Syuxtun team with Ward and Franco Jr. “It was three-plus months of solid, everyday working as a group. At times, it definitely was challenging. It was really a collaborative process, which isn’t easy in art.”

By Paul Wellman

Syuxtun Story Circle

This spirit of teamwork and togetherness became a central theme to the Syuxtun Story Circle, as cooperation has not always been a reliable part of the relationship between the six organized Chumash tribes in San Luis Obispo, Santa Barbara, Ventura, Bakersfield, and the Santa Ynez Valley. But this time it was different. “When it comes to the project, there’s been no separation-we’re all working together,” said Franco Jr.

And that makes the elders proud, said Carmen Sandoval. “It’s wonderful to have certain elders come out and say, ‘This is about time,’” she explained. “They get so emotional.” Echoed Ward, who said that some Chumash folks in their eighties and nineties had participated, “We’re showing the elders that we can work and play together.”

Best of all, the impossible-to-miss mosaic will stand as a constant reminder to both locals and tourists that a proud people-arguably one of the strongest, most socio-culturally advanced tribes in the so-called New World-once ruled this land, and that they are very much still a piece of the fabric that binds Santa Barbara. “It’s a wonderful education tool,” said Sandoval. “It shows the beauty and serenity of our culture and the fact that we’re still here. We know that, but not everybody does.”

As such, the Syuxtun Story Circle, while based on stories from a millennia-old oral tradition and specific events of the past, is full of messages for the present and a symbol of hope for the future. “This isn’t stopping here,” explained Lori Ann David. “This isn’t static. This is alive.”

Chumash elder John Moreno agreed. “These stories need to be told,” he said. “They are alive. We are alive. As beautiful as the mosaic is, it is beyond the beauty the eyes can see-it touches the heart, our senses. It is very important to us. It stands for our past, our present, and our future.”

By Paul Wellman

Swordfish Cave

The Mosaic’s Message

A Detailed Guide to Understanding the Syuxtun Story Circle

Growing up, I was taught that storytelling is transferred by direct experience and oral teachings from one person to another, that the oral history of our Chumash culture is sacred, and that it should be deeply respected, appreciated, and shared. These stories, passed down through generations, reflected the Chumash people’s supreme understanding of cosmology, their firm grasp of the natural world, and the importance of family unity to society. But I also was told that, because our oral traditions weren’t valued and were even feared by those who came from distant lands, many of the stories were put to sleep. After generations, these stories finally are starting to wake up and be told again, and some have found a home within the Syuxtun Story Circle.

In the very center of the circle, we see a green-blue sand dollar, which is said to be the resting place for the Sun as he journeys from East to West during the Winter Solstice. Surrounding the sand dollar is a basket design, as the Chumash were regarded as some of the finest basket makers in the world, their woven fibers a centerpiece of daily life. The yellow pattern is based on a 200-year-old basket that was found in the hills above Santa Barbara. Within the design are representations of tomols, which commemorate the many channel crossings to Santa Cruz Island we have completed in modern times.

Toward the outer rim of the Syuxtun Story Circle are the three worlds that comprise the Chumash universe: the World Above, the Middle World, and the World Below. The World Above is home to the sky people. The Sun, Kaqunupmawa, takes his torch around the world and warms us. Slo’w, the great eagle, sustains the upper world with his wings. Below the beak of Slo’w is the Moon, Alahtin, who shines her purifying light on the Earth and the woodpecker, Maqutikok, who was the sole survivor of the Great Flood and holds an acorn while being warmed and fed by his uncle, the Sun. There is also a coyote paw floating above a white table with a red hand impressed upon it that is part of the sacred creation story. The paw represents Å nilemun, the benevolent Sky Coyote, who announced after the Great Flood that there would now be people and that they would have his hands, for his hands were the finest of all. After much debate, the sky people agreed-all except for Onokok, the lizard, who did not voice his opposition. Rather, just before Å nilemun could press his paw into the stone table, Onokok pressed his hand down, giving people hands much more like the lizard’s. The two ravens posed above the poppies are the upper-world beings we encounter when we die as our soul journeys to the West.

The Middle World is home to the Chumash. The two giant serpents who make their way up on either side of the mosaic are Ma’aqsiq’ita’Å¡up, those who hold up the Middle World from below. When they are tired, they move, and cause earthquakes. As we travel counterclockwise around the circle, we encounter the four Channel Islands off our coast: a closed poppy depicts ‘Anyapax (Anacapa), the poppy in bloom is Limuw (Santa Cruz), the red driftwood next to it is Wima (Santa Rosa), and the abalone shell is Tuqan (San Miguel). On the shores of Syuxtun, there stands a woman whose abalone necklace sparkles in the sun, and she represents the powerful female chief who is said to have ruled in 1542. Along the same shore, we see the flourishing village life reported from 1769, where men carry a tomol out of the ocean.

The adjacent image shows the rose window from the Santa Barbara Mission, which reflects the scattering of the Chumash people, since the mission system forever altered the indigenous lifestyle. Next to the rose window is a vibrant comet, and, below that, a woman who’s raising her arms to receive a vision that warned of the impending destruction of her culture, two events that led to the Chumash revolt of 1824. The next image is Palatino’s tomol traveling across turbulent water, symbolizing the time when the tomol teachings were put to sleep. The solar eclipse that follows reveals the arrival of the Americans and their influence on the Chumash.

Directly below the eclipse is a replication of Swordfish Cave and next to that, a representation of the Earth Coyote. Together, these images recall the oral history of Earth Coyote rescuing Xelex, the falcon, from the bottom of the ocean where the swordfish people reside. We liken this tale to Fernando Librado, the Chumash man who brought the tomol out of slumber when, from 1913-1915, he built the first one since Palatino’s. That tradition carries on in the next image of Tomol Xelex and her crew from the Quabajai Brotherhood of the Tomol, which undertook an 11-day circumnavigation of the Channel Islands in 1976, the first time a tomol was back in the channel since the 1800s. Next to the tomol are animal tracks, indicating the importance of relationships between humans and beasts.

In 2001, the launch of the Tomol ‘Elye’wun (Chumash for “swordfish”) and her crew marked the first time Chumash families returned to Santa Cruz Island as a community, now an annual tradition every autumn. The peregrine image between Xelex and ‘Elye’wun is in honor of the falcon that is the spiritual captain of all tomols.

As we journey back down the circle we find the World Below. This underworld is home to the nunaÅ¡iÂiÅ¡, beings that come out after dark to travel mysteriously into the Middle World. These malevolent creatures are dangerous and often a nuisance to the Chumash people.

We believe that the Syuxtun Story Circle truly is a gift to the entire community. Speaking on behalf of the seven artists who allowed this design to manifest through us, we feel that our participation in its creation is our way of continuing the work of our elders and preserving these stories so they can be shared with the community and the world. - Stephen Franco Jr.

Comments

I've forgotten the Chumash word for the stars, sprinkled among the sky people. Some of the Chumash may remember them, now that they have been permanently eliminated by the massive lighting of the casino which runs 24/7. This could be the beginning of a great new legend.

Also, where is the representation of the slot machine, the new god of the Chumash people?

the mosaic is beautiful. i look forward to seeing it up close next time i'm home. the mosaic is a powerful tribute to syuxtun, the chumash people's stories and to the collaborative work and dedication of all those who contributed to creating this long awaited landmark.

Thanks Matt for doing this story justice. I met Lori Ann David at Santa Cruz Island where we both were visitors for the Chumash gathering this summer and I've been looking forward to seeing the mosaic. It was an honor to witness the Chumash ceremonies on the island. I'm grateful they continue to share their culture with us despite all they have endured.

Again, for the millionth time The Independent screws up history. How can Kettman and his editors put out a cover story with a straight face that reads, ".... Syuxtun Story Circle now stands as Santa Barbara's most prominent ode to the area's first inhabitants and shall serve as a steady reminder that the Chumash people never died, and that ...." Never died? They died like fish in a bucket. THERE ARE NO MORE FULL-BLOODS. Matt, according to the Library of Congress by 2080AD only %8 of everyone calling themselves 'American Indian' will be half-Indian or more. The American Indian will not survive. Get a f'n clue, dude. As for the spew about 'inclusion' AND ALL THAT B.S........Why would I want inclusion into a culture that got its ass whipped? Get well soon you sorry ass newspaper.

Now when someone makes the claim that how much of an Indian you are is based on how much blood you have they are ignorant to history and what they are saying. The question of blood quantum is a direct reference to the Unites States of America Government's attempt at complete genocide against the Native American. it really means "I want to know how successful the government was at assimilating your race into American culture." Just so they can no longer have to pay for crimes they committed against this race. It is a diversion tactic to justify why they shouldn't be more respectful. Then make the claim :"it wasn't me that did this to you, it was people from long ago". History tells us that several groups had their fair share of impacts on Native Americans. Many don't realize that the worst one for California Indians were the Americans. Not the Spanish, or Mexicans, but rather the Americans. They murdered, enslaved and tried to assimilate and thin out the Native American blood line end their culture through Indian Schools. This was not that long ago, maybe your grandfather's father or his father was a part of it. From owners and occupants of most of California in 1848 to becoming slaves and being massacred by Americans in 1850-1870, the California Indians were subject to barbaric treatment by squatters and settlers. In 1850, California passed a law unprecedented in its convoluted morality, beginning with its name: An Act for the Government and Protection of Indians. Amended in 1860 to make the child slavery business more efficient, these Acts were incredible in scope and in what they tell us about indigenous life 145 years (2 lifetimes) ago. The provisions of these acts for "the welfare and protection" of the Indians were a complete joke, as provision 6 of the 1850 law guaranteed. Beyond the legal non-existence imposed on Indians by the law, American racist hatred of these people insured that no one testified against a fellow white man for the sake of an Indian under these or any other laws and since Indian testimony could never convict a white man of anything, all human rights provisions of this law were rendered utterly useless. Lets not to forget the 18 treaties that were signed by California tribes are lost in Washington. Dawes Act or General Allotment Act of 1887-Federal Indian policy focused specifically on breaking up reservations by granting land allotments to individual Native Americans.....continued in next post

....continued from last post Very sincere individuals reasoned that if a person adopted white clothing and ways, and was responsible for his own farm, he would gradually drop his Indianess and be assimilated into the population. Thus, Native Americans registering on a tribal "roll" were granted allotments of reservation land. In order to receive the allotted land, members were to enroll with the Bureau of Indian Affairs. Once enrolled, the individual's name went on the "Dawes rolls." This process assisted the BIA and the secretary of the interior in determining the eligibility of individual members for land distribution.The Indian Reorganization Act of June 18, 1934 comes along and reverses the Dawes act allowing tribes to be self governing as long as they adopt a constitution. These constitutions had to be approved by the BIA. It was at this time Blood quantum became a factor in determining who was Native American from a legal stand point. Many tribes did not accept the idea of blood quantum until 1934. Many tribes subscribe to a level of blood quantum for membership in to the tribe, some are half, Â¼, 1/8 , 1/16. Some only require lineal descent. Not every tribe requires the same. Who is Indian and who isn't cannot be answered as simply as how much blood you have. It would be a fool to think that it was that easy. In the end, American's have been conditioned to think that how much blood you have makes a difference. Would anyone ask another person how much of an American are you? Or what part American are you? There aren't any real Americans left, they have all died. The full blooded Americans are all dead. We don't ask questions and make statements about American blood quantum because it seems to be a bit silly, and at the very least redundant, so why is it not the same with a race of people like Native Americans? For what reason would anyone want to know blood quantum other than to determine how much of an Indian they are? Or to try to define them under their own personal biased point of view. In my family it is a great sign of disrespect to ask "how much Indian are you". We know that many Americans are unaware that what they are doing is disrespectful. However this gives no excuse for allowing this type of activity to carry on. We look at this as an opportunity to educate the ignorant. Now you have been educated. It is up to you to learn from this. A better question is to ask a Native American is "what village do you descend from?" It shows your respect for the individual and their ancestors. In regards to being included in to a culture that is clearly not understood, I think the culture can do without foolish people who do not have a single clue about what they are talking about.My name is Frank Arredondo Most Likely Descendant of the Chumash Territory, from the village of Tipu.

Bla bla bla....you understate the genocide of the American Indian . There is no excuse for that, ever. Just look at what hell is raised when AQUAVELVAJAD of Iran understates the number of dead due to the Holocaust. You're doing the same thing. And your sunburn gives you away, whiteboy.

I am amazed at these interesting art, cultural and historical installations this city comissions. This prominent location with easy public access to acknowledge this historical site is greatly appreciated. Another installation at the Hwy 154 and Calle Real area is very difficult to enjoy but still is interesting. Thanks for the Story Weavers and also Ksen Sku. Why not an installation at the village of Tipu (I'm afraid to ask.) Thanks to the author, however you spell his name, for his consistently detailed articles. There is quite a bit of validity to SamRedDogs lighting complaint and loss of nighttime stars but isn't it all cultures that seem to be worshipping gaming. Tribes have been simply reduced to profiting from it.

The City of SB has commissioned many other locations. The front of The City Planing dept on Garden street, Inside the side entrance of the same building, the bridge behind the Carousel at the beach, and several rainbow bridge depictions in various locations. Unfortunatly many people never see anyof them as they walk on by. As for placing something like this at Tipu,it wouldnt be a place to do such a thing, but thanks for the suggestion. Maybe if we can get rid of the spanish tile and switch to round huts that would be great. As for the validity to samredogs complaint I can only suggest to do some brief research on a few points. The amount of casinos in America and who actually owns them, you will find it is the local cities and governing bodies that do.American Gaming Assoc is a good start for info. I think what is more important is that when the spanish arrived in California they wanted to teach the Natives a trade so they could be self sufficient,(and other things..)basically aculturate them.The mexicans came and took the churches land that was held for the Natives, then the Americans took over and killed and enslaved Natives for the land and gold because they could not stand to see someone else with something they wanted, 300+ years later a few california Indians have become self sufficent using the American dream work for them and the Americans can only look at once again something they want, and try to look down at the Native actions, yet if the casino was American owned I doubt there would be the same complaint. More likely they would revel at their achievement and talk about what a great job they have done contributing to the community and economics..ect. This takes place all the time, so we have become numb to it. Tribes have taken the lesson of the American dream and used it, used that same dream to get ahead. I'm not a member of the Santa Ynez band of Mission Indians, but I hold no grudge against them, they do good with the money they make,,they give back and they build environmentaly sensative buildings which many people don't. They do more good than most people give them credit for. Haku

ps: Natives are also Americans because of the reorganization act 1934, giving all Native Americans duel citizenship. just FYI